Lou Merrill Movies

Scientist Mitch McAfee (Jeff Morrow) cannot convince anyone that an enormous bird, evidently here from outer space, has arrived on Earth and is grabbing planes from the sky, gobbling up the passengers and crew. However, the bird (The Claw) eventually makes its presence more that adequately known, as it begins to attack people more openly. But the giant bird is surrounded by a kind of force field, making all weapons useless on it. Mitch finds its nest and blows holes in its colossal egg, infuriating The Claw, which heads south, destroying the United Nations building on its way. Mitch struggles to find a way to penetrate the anti-matter shield around The Claw. This would have been an ordinarily bad movie of its type, with a good performance by Jeff Morrow, if the special effects had been industry standard for the time. That, however, is not what happened. The Claw is not just badly rendered, it is hilariously rendered, resembling nothing so much as Warner Bros. cartoon-character Beaky Buzzard. Once seen, you will never forget this awesomely silly creation. ~ Bill Warren, All Movie Guide

19th century Louisiana is the setting for Duel on the Mississippi. Patricia Medina stars as Lili Scarlet, a vengeful Creole girl who masterminds a series of pirate raids on the local plantations. To cover up her perfidy, Lili operates a lavish gambling ship, and it is here that aristocratic Jules Tulane (John Dehner) runs up a huge debt. As "security", Jules' son Andre (Lex Barker) turns himself over to Lili as a sort of bond slave. It doesn't take long for Andre and Lili to fall in love, much to the dismay of her knife-wielding paramour Hugo Marat (Warren Stevens). The titular duel between Andre and Hugo, fought with machetes, is the film's most exciting sequence. ~ Hal Erickson, All Movie Guide

Future horror-film entrepreneur William Castle warmed the director's chair for Fort Ti. Set in the 18th century, the film recounts the exploits of Rogers' Rangers, a band of adventurers devoted to seeking out a "northwest passage" through Canada. At this juncture, however, Major Rogers (Howard Petrie) is more concerned with helping the British forces at Fort Ticonderoga during a series of French and Indian raids. Top billing is bestowed upon George Montgomery as Captain Pedediah Horn, Rogers' right-hand man. The film boasts two leading ladies: Joan Vohs, as a suspected French spy, and Phyllis Fowler as a married Indian woman who falls in love with Captain Horn. Fort Ti was filmed in 3D, and in typical William Castle fashion the stereoscopic gimmick is exploited to the hilt. ~ Hal Erickson, All Movie Guide

Charge of the Lancers is an all too typical Columbia "B" adventure film of the 1950s, with inexpensive sets, fading stars, and miles of stock footage. Paulette Goddard, pushing 50, plays a lively gypsy girl who romance an British military officer (the robustly non-British Jean-Pierre Aumont) during the Crimean War of the 1850s. Goddard and Aumont are captured by the Russians, but escape to do some spying for the Allied cause. All of this leads up to the British victory at Sebastopol, staged with both eyes on the budget sheet by resourceful director William Castle. Charge of the Lancers was filmed in Technicolor, evidently the only real expenditure made by "quickie" producer Sam Katzman. ~ Hal Erickson, All Movie Guide

While a man recuperates from a heart-attack, he obsesses with the thought that his wife and his doctor are having an affair, so decides to write a letter to the D.A. accusing the two of trying to kill him. After his wife mails the letter for him, he tells her of its contents which provokes his anger and he attacks her, dying on the spot from another heart attack. Though innocent, she is nevertheless desperate to somehow get the letter back. ~ Kristie Hassen, All Movie Guide

The Lady From Shanghai, a complex, involving puzzle-within-a-puzzle mystery story, is a showcase for Orson Welles, showing his singular talents and sensibilities as few other films have. The story is superficially simple: a seaman Michael O'Hara (Welles) is hired as a crew member on the yacht of the wealthy Banister (Everett Sloane). His beautiful but mysterious wife Elsa (Rita Hayworth) has met O'Hara earlier, when he saved her from a mugging. What ensues is a complicated and bizarre pattern of deception, fraud and murder, with O'Hara finding himself implicated in a murder, despite his innocence. The film is best remembered for its final sequence when the plot comes to a literally smashing climax in the famous "hall of mirrors" sequence, with Elsa and Banister shooting it out amidst shards of shattering glass. Orson Welles, who produced, directed, wrote and starred in the film, is sometimes self-indulgent in his use of visual tricks and techniques, which at times sacrifice plot for visual brilliance, but he pulls it together in the end to produce a stunning, difficult film. Rita Hayworth gives one of her best performances as the deceptive, seductive temptress, hard-edged and cynical. The film confounds, unsettles and disorients the viewer, very much as Welles intended to do. While not an easy film, it is well worth the attention required to follow it, and Welles offers no easy solutions or any false happy endings to his tour-de-force mystery. ~ Linda Rasmussen, All Movie Guide

Cecil B. DeMille's Technicolor historical spectacle Reap the Wild Wind was to have starred Gary Cooper, but Cooper's prior commitment to Goldwyn's Pride of the Yankees compelled DeMille to recast the leading role with John Wayne. The film, set in the mid-19th century, centers around Key West, Florida, where piracy reigns unchecked. Wayne plays the captain of a salvage business, working on behalf of Raymond Massey to rescue valuables from the merchant ships wrecked by pirates. During one expedition, Wayne is rescued from drowning by Paulette Goddard, the hoydenish manager of a rival salvage firm. Goddard arranges for Wayne to go to work for her boss, Ray Milland, and a romantic rivalry ensues. Later on, Goddard's cousin Susan Hayward is lost at sea when her ship is attacked by pirates. Wayne is accused of engineering the wreck, thanks to the duplicity of Massey, the real brains of the pirate operation. Wayne and Milland both don deep-sea diving gear and swim to the bottom in search of evidence. When Milland is attacked by an octopus, Wayne saves his rival's life at the expense of his own. Massey is exposed, and Milland wins Goddard. Essentially a standard maritime meller, Reap the Wild Wind takes on the veneer of importance thanks to DeMille's epic treatment of the material. Though competition is fierce, Ray Milland steals the show with a truly offbeat characterization (he even gets to indulge in a little ventriloquism!) ~ Hal Erickson, All Movie Guide

This typically economical Edward Small historical drama stars Jon Hall as legendary frontiersman Kit Carson. Wasting no time, the film gets off to an exciting start as Carson and his two saddle pals (Ward Bond and Harold Huber) are attacked by Indians. They manage to escape unscatched and make their way to Fort Bridger, where Captain John "Frontier" Fremont (Dana Andrews) hires Carson to guide a wagon train westward. The plot thickens when both Carson and Fremont fall in love with pretty Dolores Murphy (Lynn Bari), but all misunderstandings and rivalries are forgotten when the two heroes fight shoulder to shoulder against another Indian attack. Despite obvious budgetary limitations, the battle scenes are well staged by serial veteran George B. Seitz. Originally distributed by United Artists, Kit Carson was later reissued by minor-league PRC Pictures, which is why the film is currently in Public Domain. ~ Hal Erickson, All Movie Guide

Tropic Fury is one of several Universal programmers built around the box-office appeal of handsome Richard Arlen and ratchet-voiced Andy Devine. Arlen plays private detective Dan Burton, assigned to prevent enemy agents from taking over an old rubber plantation. Aided and abetted by his tubby partner Tiny Andrews (Devine), Burton also rescues heroine Judith Adams (Beverly Roberts) from a horrible fate at the hands of the libidinous head spy (Leonard Mudie). Lupita Tovar, who'd starred in the Spanish-language versions of such early talkies as Dracula and The Cat Creeps, is the obligatory amorous native girl. Some of the fun in watching Tropic Fury can be had by guessing the original sources of the film's innumerable stock shots. ~ Hal Erickson, All Movie Guide